Prof Christopher R. Wilson

MA(Oxford), DPhil(Oxford), FSA


Professor of MusicChristopher Wilson

Office: Larkin 220
Phone: +44 (0)1482 465609


Professor Christopher R Wilson has established an international reputation as a leading Shakespeare music scholar. His latest book, Shakespeare’s Musical Imagery (2011) investigates categories and thematics in musical metaphor and contextual reference throughout the plays and poems. His Music in Shakespeare (London and New York, 2005), is the most comprehensive study of all the musical terms found in Shakespeare’s complete works and is acknowledged as an indispensable reference work for scholars and practitioners. His Music in Shakespeare database cites every reference to music in its original location in a play or poem. In addition to articles, reviews, etc. in various publications world-wide, Christopher wrote the Shakespeare entries in the New Grove Dictionary of Music (2001) and the Grove Dictionary of Opera (1992); he was the music consultant for the permanent exhibition at the Globe Theatre in London; and he was the UK research associate for the vast Shakespeare Music Catalogue project based in Canada and published by Oxford University Press in 1991.

Professor Wilson is an internationally recognised scholar of early modern English music/words and early modern English music theory with research specialisms in Campion, Dowland, Rosseter, Danyel, Coprario, Byrd and other composers and poets of the English Renaissance. Further research activity includes 19th-century British music/poetry, 20th-century English lyric romanticism, music analysis, and baroque performance practice. He has served on the Council of the Royal Musical Association, has lectured in France, Germany, Sweden, Cyprus, USA and Canada and has broadcast on various topics on BBC Radio 3, the Australian Broadcasting Corporation, and Swedish National Radio. As a practitioner, he is an oboist, keyboard player and conductor.

Selected Publications

Books and major contributions to books

  • Monograph: Shakespeare’s Musical Imagery (New York and London: Continuum, 2011), pp. xii + 260 (ISBN 978-1-8470-64950)
    'Wilson’s study engages critically with [recent practical and cultural studies], in addition to over two centuries’ worth of classics on topics relating to both music and metaphor in Shakespeare. It argues that linguistic references to music, which extend into sound, practice, and representation in the theatre and through cultural usage, are vital to the meanings of Shakespeare’s plays and poems. Perhaps most importantly, given the esoteric nature of Wilson’s focus, the book never loses sight of music as an art of performance and aurality. ... Wilson’s argument is particularly strong when he unifies technical aspects of music theory with both metaphor and musical practice'. Linda Austern, Shakespeare Quarterly, 64/3 (Fall 2013), 389-91.

  • Reference:  Music in Shakespeare: A Dictionary. The Athlone Shakespeare Dictionaries (London and New York: Continuum Publishing Group, December, 2005), pp. xiv + 514 (ISBN 0- 8264- 7846- 8) [with Michela Calore, Leverhulme Research Fellow].
    ‘The major area of Shakespeare scholarship yet to be fully explored’ (Nan Cooke Carpenter). This publication identifies, defines and discusses all musical terms in the Shakespeare canon. ‘Essential reading for historians and performers alike.’ Ros King, TLS (January, 2007).

  • Paperback edition. Music in Shakespeare: A Dictionary. Student Shakespeare Library (London and New York: Continuum Books, 2007), pp. xiv + 514 (ISBN 0-978-0-8264-9559-4) [with Michela Calore].
    ‘This book maintains the high quality of previous volumes in the Athlone Shakespeare Dictionary series . . . This is an authoritative volume that will be an important addition to collections in Elizabethan literature and music’, American Reference Books Annual (2007).

  • New edition. Music in Shakespeare: A Dictionary. Arden Shakespeare Dictionaries (London and New York: Bloomsbury, 2014).
    ‘An enthusiast’s touchstone and a specialist’s bible. That it is so thoroughly compiled and thoughtfully presented cements its usefulness in weight and warrants its purchase among a wide variety of potential buyers, from fans to scholars’. Bill Barclay, Director of Music at Shakespeare’s Globe in Around the Globe, 58 (Autumn 2014), 48.

  • Critical edition: Thomas Campion: "A New Way of Making Fowre Parts in Counter-point" (c.1614), together with John Coprario's "Rules how to Compose", edited with an Introduction and Commentary. (London: Ashgate Publishing, Autumn 2003), pp. x + 126 (ISBN 0- 7546- 0515- 9).
    The first of a major new series, 'Music Theory in Britain, 1500-1700', under the general editorship of Professor Jessie Ann Owens, outgoing President of the American Musicological Society. ‘Wilson’s understanding of the treatises in question is undeniably thorough, and his thought-provoking commentary is clearly written and elegantly organized . . . [his] volume will surely prompt a reconsideration of the place of England, abstract instrumental music, and other genres in our interpretation of the early Baroque.’ Candace Bailey in Music & Letters, 87/1 (2006), 96-98.

  • Monograph: "Words and Notes Coupled Lovingly Together": Thomas Campion, a Critical Study. Outstanding Dissertations in Music from British Universities (New York: Garland Publishing, 1989), pp.xiv + 398 (ISBN 0- 8240- 2048- 0).
    ‘The most comprehensive study of Campion’s English writing currently available. …[It] has much to offer in its exploration of the subtle and complex relationships of musical and poetic arts.’ David Lindley in Music & Letters, 74/1 (Feb. 1993), 137-8.

  • A Shakespeare Music Catalogue, eds Bryan Gooch and David Thatcher, 5 vols (Oxford: Clarendon Press, 1991) ISBN 0- 19- 812941/5- 6. Appointed UK Research Associate on the Project, 1984-89 and contributed over 3000 entries.

Web Publication

Contributions to edited books

  • ‘Music as Aural and Symbolic Signifier of Heroic Disintegration in Othello’, Shakespeare Jahrbuch,  ed. Sabine Schülting, vol. 152 (Bochum: Kamp GmbH, 2016), 73-86.
  • ‘Thomas Campion’s “superfluous blossomes of his deeper studies”: the public realm of his English Ayres’ in Beyond Public and Private: Locating Music in Early Modern England, eds Austern, Bailey and Winkler. Chicago: Indiana University Press [forthcoming 2016].
  • ‘Wirkungen der Musik in Shakespeares Bildlichkeit’ [‘By the sweete power of musicke: Effect in Shakespeare’s musical imagery’] in “Die süsse Macht der Töne”: Zur Bedeutung der Musik in Shakespeares Werken und ihrer Rezeption,  eds Annette Simonis and Ute Jung-Kaiser. Hildesheim: Olms (2014), pp. 1-32.
  • ‘Critiques “d’Opéra”: la nouvelle vocalité dans la Restauration shakespearienne’ in Le sons du Théâtre, eds Xavier Bisaro and Bénédicte Louvat-Molozay. Collection ‘Le Spectaculaire’ (Rennes: Presses universitaire de Rennes, June, 2013), pp. 171-83.
  • ‘Shakespeare and early modern music’ in The Edinburgh Companion to Shakespeare and the Arts, eds. Mark Thornton Burnett, Adrian Streete and Ramona Wray (Edinburgh: EUP, 2011). 'The most comprehensive and up-to-date Companion to Shakespeare ever assembled. With thirty essays all by distinguished or cutting-edge scholars, covering every significant mode of Shakespearean production and adaptation.' [Brian Reynolds, California].
  • ‘Music, songs and dances’ in Shakespeare, The Winter’s Tale, ed. John Pitcher, Arden 3 (London: Thomson Learning, 2010).
  • 'Basso Continuo', 'Continuo', 'Lute-song', 'Ostinato', 'Passacaglia', 'Campion', 'Dowland' in The Oxford Companion to Music, new edn. Alison Latham (Oxford: Clarendon Press, 2002).
  • 'The Influence of Nineteenth-century Musical Agogics on G.M. Hopkins' Poetic Theory and Practice' in Nineteenth-Century British Music Studies, Series 2, ed. Bennett Zon (London: Ashgate Publishing, April 2002), pp. 278-94.
  • 'Shakespeare' and 'Thomas Campion' in The New Grove Dictionary of Music and Musicians, 2nd edn. S Sadie and John Tyrrell, 29 vols (London and New York: OUP, 2001). [A different article from no. 12 below in Grove Opera].
  • 'Shakespeare' in The New Grove Dictionary of Opera, ed. S Sadie, 4 vols (London: Macmillan, 1992), IV, 338-47 [double column].
  • 'Some Musico-Poetic Aspects of Campion’s Masques' in The Well Enchanting Skill: Music, Poetry and Drama in the Culture of the Renaissance, ed. J Caldwell, E Olleson and S Wollenberg (Oxford: Clarendon Press, 1990), 91-106.
  • 'The Songs' in The Music of Howard Ferguson, ed. Alun Ridout (London: Thames Publishers, 1989), 54-67.
  • 'Shakespeare's Use of Music' in William Shakespeare: Life and Works, ed. John F Andrews, 2 vols (New York: Scribners, 1985), 417-24 [double column] with F W Sternfeld.
  • 'John Dowland'; 'Thomas Campion'; 'Lute Song'; 'Lute Music'; in New Oxford Companion to Music, ed. Denis Arnold, 2 vols (Oxford: OUP, 1983).
  • 200+ articles in A Dictionary of Music (London, Urdang, 1983).
  • Music Appendix to R V Holdsworth, ed. Ben Jonson: Epicoene (1609) (London: Dent, 1978) [with F W Sternfeld].

Articles in refereed journals

  • ‘By the sweet power of musicke’: Effect in Shakespeare’s Musical Imagery’, Comparatio: Zeitschrift für Vergleichende Literaturwissenschaft, 6/2 (Winter 2014), 241-62.
  • ‘Howard Ferguson’s Amore Langueo and The Dream of the Rood: New Music in the 1950s’, Tempo, 64/253 (July 2010), 2-12.
  • 'Number and Music in Campion’s Measured Verse', John Donne Journal of America, 25 (Spring, 2006), 267-89.
  • 'Nineteenth-century Musical Agogics as an Element in Gerard Manley Hopkins' Prosody', Comparative Literature, 52/1 (Winter 2000), 72-86.
  • 'The Idea of Musicality in Hopkins' Verse', Hopkins Quarterly of America, 26/1-2 (Winter-Spring 1999), 27-55.
  • 'Shakespeare's Symbolic Musics: Viols, Lutes and Pipes', Early Music Performer, 1 (January 1999) 12-17 [double column].
  • 'Shakespeare's "Fair Viols, Sweet Lutes, and Rude Pipes" as Symbolic Musics', Lute News: The Lute Society, 48 (December 1998) 7-12 [double column].
  • 'A Shakespeare Music Catalogue: a Retrospective', review article in Review of English Studies, 44 no. 175 (August 1993), 417-20.
  • 'Elgar, Naylor, and the "Cobbler’s Jig": an Enquiry Re-opened', Music & Letters, 74 (February 1993), 39-43.
  • 'Three Books on English Renaissance Song', review article in Journal of the Royal Musical Association, 112/2 (1986-87), 326-30.
  • 'Patrons and Musicians of the English Renaissance', review article in Renaissance Quarterly of America, 36/2 (Summer 1983), 262-67.
  • 'Thomas Campion's "Ayres filled with partes" Reconsidered', Journal of the Lute Society, 23/2 (July 1983) 3-12.
  • 'Astrophil and Stella: a Tangled Editorial Web', The Library: Transactions of the Bibliographical Society, 6th series, I (1979), 336-46.
    'An epoch-making article' (K Duncan-Jones)

Miscellaneous publications and broadcasts

  • ‘Shakespeare Songs’ in Warner Classics CD Booklet (forthcoming, 2016).
  • ‘Sounds of Shakespeare’, BBC Radio 3 (23 April 2016).
  • ‘Shakespeare and Music’ Australian Broadcasting Corporation (23 April 2016).
  • ‘“Fair Love, Let us go Play”: the Music and Artistic Persona of Howard Ferguson’, Finzi Friends Newsletter, 25/2 (Winter 2008), 9-16.
  • Opera Box’, Interval discussion of Adès ‘Tempest’, live broadcast première from the Royal Opera House, Covent Garden, London, BBC R3 (18 February 2004).
  • 'Early Modern English Song', Swedish National Radio (2003).
  • ‘The Music of Benjamin Britten’, BBC Thames Valley Radio (11 June 1998).
  • ‘Music and Emotion’, BBC Thames Valley Radio (2 June 1998).
  • ‘Music in Shakespeare’, programme notes for ‘Harry Edwards Memorial Concert’, St George’s Brandon Hill, Bristol (23 April 1998).
    [A professional concert with contributions to the programme by Derek Bellew and John Julius Norwich.]
  • Music Notes to Samuel Daniel: Hymen’s Triumph (1615), ed. John Pitcher (Oxford: Malone Society, 1994), xii-xvi.
  • ‘Organ Scholar’ in St Edmund Hall, 1920-80, ed. Alan Jenkins (London: Farrand Publishers, 1989), 215-18.
  • Cipriano de Rore’s ‘Anchor che co’l partire’, arranged and ornamented by G Della Casa (Venice, 1594). Research and transcription for recording by The Consort of Musicke, L’oiseau lyre (1980).
  • ‘The English Ayre’, 26 programmes broadcast on BBC Radio 3 (1979-80; repeated 1984). Research, transcription and presentation of c.200 ayres for performance by The Consort of Musicke, dir. Anthony Rooley.
  • ‘An Old English Carol’, with F W Sternfeld (London: Oxford University Press, 1978). Sheet music.

Reviews in refereed journals

  • ‘Think’st thou to seduce me, then?: Impersonating female personas in songs by Thomas Campion’ by Katarina Karlsson in Svensk tidskrift för musikforskning [Swedish Journal of Musicology], 95 (2013), 169-71.
  • ‘Concord of Sweet Sounds: Musical Instruments for Shakespeare’ by Gerard Brender à Brandis and F. David Hoeniger in University of Toronto Quarterly, 82.3 (Summer, 2013), 609-11.
  • ‘Reverberating Song in Shakespeare and Milton: Language, Memory, and Musical Representation’ by Erin Minear in Review of English Studies 64 (April, 2013), 342-4.
  • ‘Minstrels Playing: Music in Early English Religious Drama’, by Richard Rastall in Modern Language Review, 98.4 (Autumn 2003), 950.
  • ‘Thomas Watson: Italian Madrigals Englished (1590)’, edited with commentary by Albert Chatterley, Musica Britannica LXXIV in Music & Letters, 83/2 (May 2002), 326-27.
  • ‘John Amner: Sacred Hymnes (1615)’, edited by John Morehen, EM 40 in Music & Letters, 83/2 (May 2002), 327-28.
  • '"Handel’s Trumpeter": the Diary of John Grano’, edited with commentary by John Ginger in Review of English Studies, 51/202 (2000), 292-93.
  • '"In Small Proportions": A Poetics of the English Ayre 1596-1622’, by Daniel Fischlin in the Modern Language Review, 95/1 (2000), 177-78.
  • 'Holborne "My Selfe": 16th-century Pavans, Galliards, and Almains", Gramophone Early Music (Autumn 1999), 74.
  • 'Orlando Gibbons: Works for Harpsichord and Virginals' in Gramophone Early Music (Autumn 1999), 73-74.
  • '"The Heaven Singing": Music in Early English Religious Drama', by Richard Rastall in Review of English Studies, 49 no. 196 (1998), 491-93.
  • 'Music in the English Courtly Masque 1604-1640', by Peter Walls in Review of English Studies, 49 no. 194 (1998), 225-27.
  • 'Gerald Finzi: a Bio-Bibliography', by John C Dressler, Review in Finzi Trust Friends Newsletter, 15/2 (Winter 1997), 12-13.
  • 'Music in the Age of Chaucer', by Nigel Wilkins in Review of English Studies, 48 no. 192 (1997), 516-17.
  • 'Elizabethan Mythologies: Studies in Poetry, Drama, and Music', by R Headlam Wells in Review of English Studies, 47 no. 188 (1996), 575-78.
  • 'The Collected Works of Abraham Cowley: Volume 2, Poems', ed. Calhoun, Heyworth, King, in Review of English Studies, 46 no. 184 (1995), 579-80.
  • '"Tune thy Musicke to thy Hart": the Art of Eloquent Singing in England, 1597-1622’, by Robert Toft in Music & Letters, 76/2 (May 1995), 284-85.
  • '"In Harmony Framed": Musical Humanism, Thomas Campion, and the two Daniels', by Erik S Ryding in Music & Letters, 75 (May 1995), 284-85.
  • 'The Madrigal', by Jerome Roche in Review of English Studies, 44 no. 173 (February 1993), 90-91.
  • 'Songs . . . by Dowland and his Contemporaries', The King’s Consort; 'Shakespeare's Musicke', Camerata of London; 17th-century Love Songs', Simpson/Mason, in Early Music, 19 (November 1991), 673-77.
  • 'The Life and Works of Philip Rosseter', by John Jeffreys in Music & Letters, 72/4 (November 1991), 580-81.
  • 'Music and Poetry: The Nineteenth Century and After', by Lawrence Kramer in Review of English Studies, 38 no. 152 (November 1987), 586-88.
  • 'Elizabethan Lyric Poetry and its Music', by Winifred Maynard in Music & Letters, 68/3 (July 1987), 264-66.
  • 'English Renaissance Song', by Edward Doughtie in Music & Letters, 68/3 (July 1987), 266-68.
  • 'The Living Lyre in English Verse', by Louise Schleiner in Music & Letters, 67/1 (January 1986), 83-85.
  • 'Conference Report' in Music Analysis, 5/1 (1986), 121-24.
  • 'Miscellaneous Lute Songs', 2 vols ed. Michael Pilkington in Early Music, 13 (February 1985), 110-11.
  • 'The Well-tun'd Word: Musical Interpretations of English Poetry, 1597-1651’, by Elise Bickford Jorgens in Music & Letters, 54 nos. 1-2 (January-April 1983), 113-15.
  • 'John Dowland', by Diana Poulton in Music & Letters, 64 nos. 1-2 (January-April 1983), 96-97.
  • 'Campion "On Song"', by Stephen Ratcliffe in Music & Letters, 64 nos. 3-4 (July-October 1983), 264-66.
  • 'Music in the Theatre of Ben Jonson', by Mary Chan in Review of English Studies, 34 (November 1983), 504-06 (a special birthday volume for Kathleen M Lea).
  • 'The Turpyn Book of Lute Songs', ed. P Oboussier in Music & Letters, 63 nos. 3-4 (July-October 1982), 372-74.
  • 'Campion: First Booke of Ayres; Second Booke of Ayres', ed. David Scott; 'Songs from Manuscript Sources', 2 vols. ed. David Greer, in Music & Letters, 61 nos. 3-4 (July-October 1980), 473-76.
  • 'The Singing Tradition of Child’s Popular Ballads', ed. B H Bronson in Review of English Studies, 30 (May 1979), 239-41.
  • 'Thomas Morley: Canzonets to Five and Six Voices', ed. Sally Dunkley in Music & Letters, 59/2 (April 1978), 231-32.

Refereed conference papers and invited lectures

  • ‘Music as Anti-Heroic Emblem in Othello’, Helden und Heldinnen bei Shakespeare, Deutsche Shakespeare-Gesellschaft (Berlin, 2015).
  • ‘”By the sweet power of Musicke”: Effect in Shakespeare’s Musical Imagery’, Kingston University Shakespeare Seminar (Rose Theatre, Kingston, 2014).
  • ‘Shakespeare’s Marvellous sweete Musicke: Imagery and Practice’, University of Durham (March 2013).
  • ‘Shakespeare in the Concert Hall’, Arts Lecture Series,  European University Cyprus (November 2011).
  • ‘Words that may fitlie expresse the passions’: Shakespeare’s emotional musical imagery’ at Shakespeare and Early Modern Emotion, International Conference, University of Hull (July 2011).
  • ‘Critiques “d’Opéra”: La nouvelle vocalité dans la Restauration shakespearienne’, at La voix de l’acteur et du chanteur en Grande-Bretagne et en France de la Renaissance aux Lumières, Université Paul-Valéry, Montpellier III (June 2011).
  • ‘Hearing Music’s Words: Imagery in Shakespeare’s Theatre’, Institute of Musical Research, School of Advanced Study, London (March 2010).
  • ‘Restoration Shakespeare and Music: Davenant to Shadwell’, Purcell, Handel and Literature Conference, Senate House, London (November 2009).
  • ‘Howard Ferguson’s Amore Langueo and the Artistic Persona of the Composer’, Finzi Lecture, Three Choirs Festival, Worcester (August 2008).
  • ‘Extracting for the Acousmatic: My Ladye Nevells Booke’ (with Joseph Anderson), Royal Musical Association Annual Conference, Aberdeen (July 2008).
  • ‘If Musicke be the food of love, play on . . .: Shakespeare’s Recollected Music’, Inaugural Lecture, University of Hull (October 2007).
  • 'A New Way of Making . . . Counterpoint: Campion's Treatise and its Readership', The Pedagogies of the Renaissance, International Conference, Johns Hopkins University/Peabody Institute, Baltimore (June 2005). Invited attendee. [Recipient of British Academy International Conference Grant. Conference sponsored by NEH of America.]
  • 'Translating Shakespeare into Opera with particular reference to the new Adès "Tempest", 31st International Shakespeare Conference, The Shakespeare Institute, Stratford-upon-Avon (July, 2004).
  • 'Music Choices in Shakespearean Productions at the new Globe', Shakespeare Association of America Congress, Vancouver (April 2003).
  • 'Sound Effects and Music on the Page of Early Modern Play-books'. Music in Shakespeare Conference, Leeds (September 2002).
  • 'Campion's Music Treatise in the later 17th Century', Third Biennial Conference on Baroque Music’, Trinity College, Dublin (July 2000).
  • 'Shakespeare’s Musical Imagery: Terms from Elizabethan Music Theory', Modern Language Association Congress, Chicago (December 1999). [Recipient of British Academy Overseas Conference Grant]
  • 'Campion’s Treatise on "Counterpoint" and Renaissance Pedagogy', American Musicological Society Congress, Kansas City, Missouri (November 1999).
  • 'Shakespeare in La: Shakespeare's Use of Music with particular reference to Twelfth Night', Johns Hopkins University, The Peabody Institute, Baltimore (October 1999).
  • 'Romantic Musical Agogics as an Element in Gerard Manley Hopkins' Prosody', Second Biennial Conference on Music in 19th-century Britain, Durham University (July 1999).
  • 'Classical Music by Candlelight: or should we make old music contemporary?', Public Lecture, The University of Reading (March 1999).
  • 'Shakespeare’s "Fayre Violl, Sweete Lute, and Lowlie Pipe" as Musical Imagery', Joint Annual Meeting of the Viol da Gamba and Lute Societies of England and America, Art Workers’ Guild Hall, London (September 1998).
  • 'Shakespeare's Musical Imagery: A Dictionary in Progress', The Royal Musical Association Annual Conference, Oxford (March 1998).
  • 'From Playhouse to Opera: Shakespeare in Music', Birkbeck College, London (October 1997).
  • 'Handel and English Taste', American Universities Joint Seminar, St John’s College, Oxford (July 1996).
  • 'Music in Shakespeare's The Tempest', Oxford-Smithsonian Institute Summer Seminar (July 1991).
  • 'Music in Shakespearean Production at Stratford: 1870 to the Present Day', Shakespeare Institute, Stratford (November 1989).
  • 'Elizabethan "Number": Prosodical Theory and Music’, Institute of Advanced Musical Studies, King’s College, London (October 1986).
  • 'Music and Metre in the English Lute Ayre', Seminar in Music Theory and Analysis, Goldsmith’s College, London (February 1983).
  • 'The Part-songs of the English Lute Ayres', Faculty of Music, Oxford (October 1979).
  • 'Campion's Poetics', Research Students Conference, Royal Holloway College, London (July, 1976).


Research Interest

  • Shakespeare Music (including opera, incidental music, music in production, concert music)
  • Early Modern English Music/Words
  • Music Theory in Britain c.1560-1650
  • Thomas Campion (1567-1620)
  • Music/Poetry of Victorian Britain
  • 20th-Century English Lyric Romantic Music

Research Grants and Awards

  • 2012 Music and Letters Award.
  • 2010 British Academy Small Research Projects Grant
  • 2010 University of Hull Faculty Strategic Support Fund
  • 2005 British Academy International Conference Grant (USA)
  • 2001-4 Leverhulme Trust Major Research Project Award
  • 2000 British Academy Small Research Projects Grant
  • 1999 University of Reading Research Endowment Trust Award
  • 1999 British Academy Oversees Conference Grant (USA)
  • 1984-89 Shakespeare Music Catalogue (Canada) UK Research Associate
  • 1978 Louise Dyer Award, Musica Britannica
  • 1976 James Ingham Halstead Scholarship, University of Oxford


  • Year 1/level 4:  Music in Context (lectures: Romantic Music; Renaissance Music); essay supervision.
  • Year 2/level 5: Classical Music Studies (module convenor and lecturer); Romantic Music Studies (module convenor and lecturer); Opera and Music Theatre (lectures: Otello; ‘Monteverdi and the Birth of Opera’).
  • Year 3/level 6: Advanced performance; Special Study (module convenor, lectures, seminars).
  • MMus: Recital I and II; Research Methods; Research Seminar
  • PhD: supervision
  • All years: Early Music; Chapel Choir

Special lectures and continuing education

  • 2011 "Shakespearean Music in the Concert Hall", The European University, Cyprus.
  • 2002 An Introduction to the Music of Gerald Finzi, one-day session at the Department of Continuing Education, London Road, The University of Reading.
  • 1990 ‘Music in Shakespeare’s Works: The Histories’ – a one-day course for the Department of Continuing Education at The University of Reading, Bulmershe.
  • 1990 ‘From Play to Libretto: Shakespeare’s Othello and Verdi’s Otello’ for a one-day conference at The University of Reading, Bulmershe.
  • 1987 ‘Music and the French Revolution’ – a one-day course for the Department of Continuing Education at The University of Reading, London Road.


Associate Dean, Research.


Faculty Research Executive; REF Committee.


REF working groups; REF Committee; Ferens Fine Art Committee

Membership of national councils

  • 2001-04 Council Member of The Royal Musical Association.
  • 1997-98 Executive Committee of Ashmansworth Project, Finzi Trust.
  • 1991-94 Proceedings Committee of The Royal Musical Association.
  • 1989-92 Council Member of The Royal Musical Association
  • 1988-91 Executive Committee of The English Song Award.
  • 1983-85 Committee Member of the Universities and Colleges Music Teachers Association (now NAMHE).
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